il y a l'article de Vaccaro sur l'accord du lutn  dans" la musique de
   luth en France au XVIA"me siA"cle", qui donne les sources principales.
   (notamment PhalA"se, d'ailleurs ambigu)
   There is an article of Vaccaro on the tuning of the lute in "la musique
   de luth en France au XVIA"me siA"cle ", which gives the main sources. (
   particularly PhalA"se, moreover ambiguous)
   Le Vendredi 16 janvier 2015 13h10, Charles Mokotoff
   <[email protected]> a A(c)crit :
     Greetings List,
     Martin, this quote from you:
     "In fact there are many passages in John Johnson, Francis Cutting,
     Anthony Holborne and even Dowland where octaves even up to the 4th
     course seem to be implied..."
     I was just wondering how octave stringing is implied by these
     composers? I have always wondered about this, so am very curious how
     you reached that conclusion.
     Thank you!
     Charles
     On Fri, Jan 16, 2015 at 5:55 AM, Martin Shepherd
     <[1][1][email protected]> wrote:
       Dear Robert,
       This is an interesting question.A  Off the top of my head:
       I don't think Spinacino (1507) mentions octaves in his introductory
       material, but there are some classic examples of octaves in his
       intabulations, especially in the opening of "Haray tre amours"
   (Book
       2, f.15v.) where the opening flourish finishes, not on the open 2nd
       course, but on the second fret of the 5th course.
       Attaingnant's tuning instructions (1529) tell us to use octaves on
       4-6.A  His arrangements of chansons for voice and lute also suggest
       pretty unambiguously an octave on the 4th course (e.g. cadences
       which go from c4a5 to d3a4).
       Not sure whether Hans Newsidler's instructions (1536) talk about
   it,
       but the woodcut of a lute showing the symbols of German tablature
       clearly shows octaves on 4-6.A  There is also evidence of octaves
   in
       his intabulations.
       Adrian le Roy's Instructions (English translation, 1574), in
       discussing the intabulation of "De corps absent" on f.42(?)
   mentions
       using the octave on the 5th course to solve a problem in the
       intabulation, and in passing mentions that this ruse would not be
       possible with a lute strung in the manner of Fabritio Dentice and
       his followers (which is where we get the idea that Dentice was a
       leading proponent of unison stringing).A  I had a feeling that
       somewhere Le Roy tells us to use octaves on 4-6, but I can't find
   it
       at the moment.
       I have a feeling that Waissel's instructions (1592 book?) use
       octaves but I don't have the facsimile - can anyone help?
       Barley (1596) prints a version of Le Roy's instructions and also
   has
       a woodcut of a lute which seems to show octaves on 4-6.A  Can't
       immediately find my copy of that either.
       When Dowland is talking about octaves in 1610, he recommends using
   a
       unison 6th course, and says that the practice of using an octave
   (on
       the 6th course) was used "nowhere so much as here in England".A  In
       fact there are many passages in John Johnson, Francis Cutting,
       Anthony Holborne and even Dowland where octaves even up to the 4th
       course seem to be implied, so it seems that use of octaves
   persisted
       longer in England than elsewhere and may even have been common in
       the 1590s.
       I hope others can add to this list and confirm (or otherwise) some
       of my references.
       Best wishes,
       Martin
     On 16/01/2015 09:10, Robert Barto wrote:
       A  A  Hello lute friends,
       A  A  How many sources do we have in all of Europe from @1500-1600
       that tell
       A  A  exactly how the lute was tuned concerning the octaves on the
       4,5 and
       A  A  6th courses?
       A  A  Thanks,
       A  A  Robert
       A  A  A
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